I'M THE MAN

(Warning: gratuitous pseudo-intellectual masturbation)

Something Corey Taylor of Slipknot (ugh...I know, but bear with me) said during one of those lame-o history of metal shows on VH1 struck my fancy.  He said, "Metal is probably the last bastion of real rebellion, real masculinity...real, real men basically getting together and beating their chest."  If you ignore the slightly homoerotic implication (notice: I didn't include the part where he talked about guys taking off their shirts), his apparent endorsement of archaic notions of masculinity, and the fact that the speaker is Corey Taylor of Slipknot, you realize that he has a really interesting point.

From my experience, the newer generations of male metalheads don't generally fit the mold of "traditional" masculinity.  As I mentioned in a previous post, most fellow male metalheads that I've come into contact with (friends, acquaintances, bands, etc.) are overwhelmingly nice; as well as introverted, empathetic, soft-spoken, and shy.  These are certainly not traits that traditional masculinity embodies, nor are they traits that are reinforced by media and society as being "typical" male traits.  These are traits that in our society are seen as "subordinate" (i.e. female) traits relative to the hegemonic masculinity hierarchy.  Because...you know...that's how are lovely patriarchal society works: men aren't supposed to have emotions because emotions are a sign of weakness, you ding dong!

However, I think through our (metalheads) collective desire to be a part of that "traditional" masculinity narrative, we have created a hyperreal masculinity within our music.  By that, I mean a masculinity that is amplified to a ridiculous degree on steroids and fuckloads of bacon.  I would say this hyperreal masculinity is reproduced in 95% of Metal.  I mean, just think of all the metal lyrics that are practically cartoonish in their portrayals of rugged individualism, misogyny, war,  physical aggression, and metal fraternity.  I mean, Christ! How many different Manowar songs could I quote right now?!

"Brothers stand beside me, as I battle on
Know my words are true.
There's a battle for true metal.
They're marching; they're marching on
Me and you!"
- 'Die for Metal', by Manowar

"Woman, be my slave
That's your reason to live
Woman, be my slave
The greatest gift I can give
Woman, be my slave"
-  'Pleasure Slave', by Manowar

"Blood and death are waiting like a raven in the sky
I was born to die
Hear me while I live
As I look into your eyes
None shall hear a lie
Power and dominion are taken by the will
By divine right hail and kill"
- 'Hail and Kill', by Manowar

I could add about a million more, but I'll stop here because Joey DeMaio told me to.

So I think our desire to be a part of the "traditional" masculinity narrative (and maybe even frustration from being excluded from it), we channel our energies into participating in and creating a hypermasculinity within metal.  There is no place that we ritualize and perform this masculinity more than at Metal shows.  For example, I believe one purpose of the mosh pit is an animalistic way to show alpha male status.  How many times have you wanted to go into the mosh pit, but have been scared shitless because there is that one 6'3, 250 lb. Death Metal meathead just roving around waiting for the next person to enter so he can pummel them into oblivion? 

Hyperreal masculinity in Metal, in my opinion, is also why there is a severe lack of a female presence in Metal.  Why would most women want to be actively involved in a subculture that promotes a mega-masculinity?  I mean, obviously the coolest, most awesome girls already listen to Metal (such as our very own Cate the Great), but for the other 99%, Metal is a tangled mess of man sounds.

I think as time goes on, this hyperreal masculinity is becoming less and less present in metal.  While notions of masculinity have become multivarious (yet still with the patriarchy of hegemonic masculinity), Metal has become more homogenized and liberalized; as well as less worldly and more transcendental.  While there isn't really a direct connection between the two, the fact is that while "traditional" masculinity is becoming less ubiquitous within the Western world (or at least dissected and criticized),  Metal bands have become more comfortable exploring the internal world (i.e. emotions) rather than the external world.  Therefore, the hyperreal masculinity within Metal is also becoming less ubiquitous.  Time will only tell just how this aspect of metal might change in the coming years.

And in conclusion...boners.

New Releases and Rumors

I think the latter half of this year is shaping up to be the better half of 2012 in terms of new metal releases. 

As I mentioned in an earlier post, sludge/noise supergroup Old Man Gloom (featuring members of Cave In, Converge, and ISIS) reconvened earlier this year to play a string of shows in the NE United States at the beginning of May.  Around that time, they also announced a new album called "NO".   The band already had a short run of copies available for the shows, but it won't be widely released until June 26th via Hydrahead Records.  In the meantime, check out this hilarious interview with Old Man Gloom from back in the day.  P.S. I definitely think naming the album "NO" was just to intentionally play a joke: "OMG NO"...tee hee hee!

This next piece of information seems to be under the radars of most of the metal news websites I frequent:  Cult of Luna are (finally!) preparing a new album!  They have not released a new album since 2008's "Eternal Kingdom".  According to their website, they are currently in the recording process, so hopefully we can be expecting the new album by late this year or early next year.

Mysterious, Orthodox Satanists Deathspell Omega are releasing a new EP entitled "Drought" that will come out on June 22 via Season of Mist.  You can stream a song here.  I'm not sure how I feel about the new song yet, but like most DsO releases, it will probably grow on me.  Their last album "Paracletus" was my favorite of 2010.

Those southern psychedelic sludge hooligans, Baroness, will be releasing a new double album entitled "Yellow & Green" on July 17th via Relapse Records.  From what lead man John Baizley mentioned in interviews, the album will be more catchy, more straightforward, and less aggressive than previous releases.  You can hear a new song here.

A new album by Egyptian-themed Death Metal masters, Nile, will be released this year as well.  The album is entitled "At The Gate of Sethu" and will be out on June 29th via Nuclear Blast.  You can hear a new track here.

There have been rumors that a new Pig Destroyer album will collectively smash our brains to pieces this year.  If a new album does come out, it will be PxDx's first since 2007's "Phantom Limb".  Here some new songs performed live here.  

Finally, I haven't heard too much new information about the new Gorguts album, but there aren't any sources saying a new album WON'T come out this year...so we'll be optimistic.

So that's all I got for now!  Considering every band listed here is a favorite of mine, 2012 could be an incredible rest of the year for (my tastes in) metal!

- Judge Dredd

'Grim' Kim Kelly's NPR Article

Seasoned and well-respected metal writer Kim Kelly recently wrote an article for NPR.  The scene is set at Maryland Death Fest while she muses on stereotypes regarding metalheads and also the way in which American Metal is differentiated from that of Europe, etc.  It's a good read!


You can check it out here.

No More Mr. Nice Guy

Being that Metal is an international phenomenon that transcends race, class, gender, culture and everything else*, one might think it difficult to really pinpoint common characteristics amongst its brethren.  However, there is one element that I have found to be not quite universal, but surprisingly common, is how fucking NICE everyone is.

I couldn't recover the exact quote, but I remember reading somewhere that Devin Townsend (the Mad Scientist of Metal, badass extraordinaire, etc.) said something like, "Metalheads are some of the sweetest people ever" (seriously, he said SOMETHING like that).  I can't agree more!

Sure, you have your meathead Death Metal dudes ("I only listen to metal that makes me feel dead, and now I'm going to crush your skull") and ninja-dancing Metalcore dudes ("I only listen to metal that is 100% breakdowns and now I'm going to karate-kick your face in."), but for the most part, most fellow metalheads I meet end up being incredibly amiable, if not also warm, soft-spoken, and shy.

How can this possibly be?  How can the fans of some of the most angry, brutal, scathing, grim music on this planet be some of the sweetest people?

Well, I have a few theories.

My first theory is primarily based on my own experiences, but I can't help but think there are many metalheads who feel the same.  For me, the very act of listening to and/or playing metal is a sort of a ritualized purification of my negative energy.  This aspect of the metal experience served me well through my angsty and hormonal teenage years.  All my frustration as a result of a devastating shyness around the opposite sex was filtered through the likes of the chaotic quantum physics of The Dillinger Escape Plan,  the post-modern madness of "City"-era Strapping Young Lad, and the Romanticism of Opeth.  All three (and, of course, many more) served as a healthy way to channel all this frustration.

Of course, now that I'm older and am more self-aware, my taste in metal has become more specific and I listen to it for different reasons.  There is still the element of the "purification of negative energy", but instead of venting adolescent frustration, it's more of an escape from the drab day-to-day experiences and existential weight on one's shoulders.  A term I refer to as "the weight".  Listening to metal is like a primal scream at "the weight".  Even though it's still "there", I feel a little better letting it know that I'm still "here". 

SO, to summarize: using metal as a way to get rid of negative emotions allows us to be nicer to everyone else!

My second theory is similarly related to the first one.  Metal is an escape.  Just like a good book or movie, metal creates a different world and world view for us to magically pass through.  Having possession and knowledge of this escape allows us deal with "the weight" on a regular basis by...uh, completely ignoring it.  This doesn't ring any more true than it does in traditional and power metal that covers fantasy topics about elves, ancient mysteries, rainbows and all that shit.  By having these worlds created for us to delve into at our leisure, we can better ready ourselves for the mundane day-to-day experiences and treat everyone that much more pleasantly as a result!  It may sound like a cheap high, but it's the little things that count, people! 

My third theory also has to deal with the general content of metal.  A great majority of metal is decidedly "dark".  For 15 years I have been listening to songs about murder, suicide, war, Satan, etc.; but am I a sicker individual for the fact?  No.  In fact, I think that very aspect has had the opposite affect on me.  While most metal isn't necessarily "life-affirming" (sometimes just the opposite), exposing one's self to the darker side of the human experience allows one to appreciate the greater, happier things in life like friends, family, nature, travel, good food, etc.  Yay!

Let me be clear that I don't think these theories necessarily apply to everyone in the metal community. Furthermore, I would be an idiot for claiming that everyone in the metal community are nice, warm individuals.  These are just what I have experienced and observed from years of being a metalhead.

In any case, everyone should remember:  'tis better to kill with kindness than with an axe to the head.



*OK, I'm exaggerating a little.  In my hometown, the audience of an average show consists of 90% young, white, low to middle class dudes.  However, I suppose that probably says more about the general demographic of NE Kansas.

- Judge Dredd

Attention Metal World: I'm Not A Kid

It's time to rant, and as a note, a rant deserves to be unrevised and unedited to reflect its immediacy.

I'm not sure if anyone else feels the same way I do, but to me, one of the most maddening aspects of being a fan of heavy music is the fact that I am (not me personally, but I include myself as part of the third person singular and plural) constantly referred to as a "kid".

In interviews and articles I constantly hear and read Metal artists, journalists, and other industry people refer to Metal fans as "kids". As in, "We think the kids will really like how brutal our new album is."

You may have not noticed, but I'm not a kid. I'm twenty-seven years old. I am developing a career. I'm living in a foreign country while the rest of my family is in the United States. I pay my own rent. I maintain my own bank account. I buy my own groceries. No matter that I don't always want to admit it, but I am a full fledged ADULT.

What makes people in the Metal industry believe that 95% of their fanbase consists of dependents under the age of 18? Or even 51% of their fanbase? What makes old-as-fuck bands that have been around for more than 15-20 years think that their fanbase is largely made up of teenagers? I have news for you: a good-sized portion of your fanbase HAS ACTUALLY AGED WITH YOU.

Now, I do realize that I may be arguing semantics. I am no way an expert on the etymology of "kids" in the heavy music world, but I would bet good money that that term actually came from Hardcore Punk back in the 1980s. Knowing what I know about the hardcore punk scene back then, I would imagine that the great majority of its fans were actually 18-20 or younger. Back then, Hardcore Punk was in its embryonic stage. Now, I think it's dubious at best to assume that the majority of fans of a 40 YEAR-OLD style of music (in the case of Metal) are "kids".

Let's get to the heart of the matter. I feel insulted in just about every way possible to be referred to as a "kid". I would like to think that I have mentally, emotionally, and spiritually matured well past being a "kid". And Satan Almighty, does that hangover hurt a helluva lot more than it did when I was 16. Even if "kids" is a catch-all phrase for fans of Metal music, why can't we simply be referred to as "fans", which would be the logical choice anyway.

In fact, I'm going to take this a step further and get all psychological on yo' ass: What if people in the Metal industry refer to their fanbase as "kids" because they don't want to admit to their own lack of overall maturity and have to demean their fanbase by calling them "kids" to feel better about themselves and their profession...?

Alright, obviously that's being just as overgeneralizing as referring to all of your fans as "kids"...I guess you get my point now.

- Judge Dredd

Interview with Nihilifer of Erebus Enthroned!!

This interview is part of a series I'm doing in order to explore the dark and intriguing world of Australian black metal as well as spread the word about The Devil's Arcana, a 2-day black metal festival taking place on March 30-31 here in Sydney, Australia.

Interview conducted via email on March 28, 2012.

http://www.facebook.com/Erebusenthroned

WULF: It has been over half a year now since you released the excellent "Night's Black Angel" LP...how has the reception been for the album up to this point? I understand the album was written over the period of 2-3 years... have the positive reviews been sufficient in fueling your creativity to hopefully produce a new album quicker this time around?

NIHILIFER: The reception for Night’s Black Angel has been positive indeed, which is humbling and pleasing. The few less then positive reviews and opinions out there we’ve stumbled upon really have only served for both our own introspection (at other’s insight) and amusement (at their lack of insight). I suppose it is normal for a band to spend a lot of time on their first album should they be serious enough to put that much effort into it. We have been working on the second opus with more focus and direction than the debut because we now have more of a taste of the process, from which even more hunger has set in! As said before positive reviews are humbling but are definitely not what fuels our creativity. You can expect something with the boldness and brilliance of a phoenix! The surface has been scratched and the entrails of this Ill creation will be further revealed, as tortuous serpents with flaming tongues.

WULF: Are there any more details you can elaborate on with the new album? Also, which Russian horde are you releasing your 7" split with? In interviews you have mentioned that both of these productions are still in the works, so any new news or information you can share is most welcome!

NIHILIFER: All I can really elaborate in regards to the second album is that the song writing has taken a a less straight forward direction. There is still much of the definition that made the songs on Night’s Black Angel what they are, but an obscure fluidity has weaved its way into what has been created thus far. This split 7” will be released soon, we’d prefer it if we kept the details of who it is with and what label is releasing it to a strict minimum for now, as I’m sure it will be appreciated when it is released. It will be a special release and the artwork I must say is other/underworldly!

WULF: I'm always more interested in a band's literary influences (if any) than musical ones. Obviously Satanism and the occult are major inspirations, but are there any specific writers or literature that are especially influential in the creation of your music and/or lyrical themes?

NIHILIFER: As far as literature goes, we do draw some inspiration from writers (as well as art) but most inspiration is drawn from a more personal and profound source. We have interests and draw some subtle influence from various sources ranging from Milton, Nietzsche, Crowley, Lovecraft (the concept of the Dark Gods though not the fictionalisation of them), Steiner (the theosophical works dealing with the Antichrist in particular), the Qabalah (mainly dealing with the nature of Evil and the Infernal Habitations), ONA, and modern Left Hand Path orders such as Temple of the Black Light and Dragon Rouge. We have drawn inspiration for both music and lyrics in deep dream states and from the concept ever present in almost every world mythology, the conflict between Darkness and Light, Chaos and Order. However, most of our inspiration really derives from our own personal resonance with the force known as Satan/Lucifer and His/it's/their role for each of us striving toward the great primal perfection in perpetual paradox – Chaos Trisagion.

WULF: You are set to perform at The Devil's Arcana show this weekend. What can the audience expect from this live ritual? What are you hoping to accomplish? You've mentioned that your most memorable show so far took place in Melbourne sometime last year...do you feel that The Devil's Arcana will match this previous show in intensity and negativity?

NIHILIFER: For those that have seen us before and for those that have not, don’t expect anything! We always want a certain spirit of Chaos to be evoked within our live rituals. For us, a live performance (or a ritual) is about harnessing the potent power and vibration of music to presence dark and sinister energy to either direct it or freely let ourselves be directed by it. I have mentioned this before in an interview but it is very much like germinating seeds that have been sewn into us and within the songs themselves. A potential power being awakened by an influence both external and internal. I cannot say yet in regardless to The Devil’s Arcana matching the intensity of the Melbourne ritual, but a new song shall be unveiled to the public during our set and just as the other songs have been sewn with potent seeds, so has this new abomination and it is my prediction that they shall bloom in a violent array provoking much tortuous energy.

WULF: Before a live performance the group partakes in some sort of ritual involving "dead blood" (according to a 2012 interview with Cvlt Nation)...I understand that this is very personal for you, but is the blood your own or is it blood of an animal (similar to what Watain does before a live show)? Also, is this ritual based on traditional magic(k)al rites, or is it of your own creation?

NIHILIFER: The blood we use is of an animal (most of the time it is from a pig, worn in moral opposition to certain groups of people we stand against a bit more than everyone else). The rituals we undertake prior to performing are not directly drawn from Ceremonial Magick but do bare similarity to the process of a Magician removing himself from mundane consciousness into another realm. Of course, you may notice we are a band that wears corpse paint. We see this not as a formality to adhere to a Black Metal image but as part of these conscious rituals to shatter the ego and make the husk of our beings conductive to certain things we call upon. It is worn to celebrate and welcome forces that belong to the realm of Death. A manner of certain techniques is employed by each member at their own behest to arrive into a receptive state of consciousness.

WULF: Does the band adhere to astrological principles as well? In the same interview, Nihilifer spoke of planetary correspondences amplifying the band's ability to channel during the live ritual...what role does astrology play in the band's own organization/preparation?

NIHILIFER: We neither show disinterest nor swear by astrology. It is an esoteric science we see just as much value in as others but don’t worry ourselves by chaining our lives to it. I recognise the potency of some things like astrology and divination however, I personally would rather experience things in a chaotic manner and as far as astrology playing a part in the band’s organisation/preparation, it borders on the minimal to naught as we all wish to be guided by the free flowing energy known as Chaos. I mentioned that I was aware of correspondences between the dark and deathly planet Saturn and the aggressive Mars, amplified by the full moon. This is one detail I dwelt upon following the powerful ritual in Melbourne last year.

WULF: I'm from the United States, only living in Australia temporarily. Is there a chance we will be seeing you in the New World at some point in the near future, or plans to travel to Europe?

NIHILIFER: Where there is will, there are ways. We do indeed aspire to travel internationally to perform. There are no plans as of yet, but the night of Erebus Enthroned is young!

WULF: I hate to ask, but your name is similar to the British black metal band Hecate Enthroned...obviously you are both very different bands, but was Hecate Enthroned inspirational to the creation of Erebus Enthroned, even in name only? I've been curious ever since I'd heard of you guys and noticed the Greek mythological connection in both names...

NIHILIFER: I can’t really give you a straight answer on this one. The name was coined by an ex-member and when I joined it didn’t click straight away that it was similar to that band from England (not a fan at all of them). I had made the connection afterward but never thought much about it or even cared one bit! Bias aside, Erebus Enthroned is a much stronger name even on face value with its memorable use of alliteration. Erebus is a primordial personification of darkness. The name symbolises the coronation of a new dark, orderless order.

WULF: That's all the questions I have! Any final comments?

NIHILIFER: Agios O Phosphorus! Join us on the 31st of March to celebrate Chaos and Death!

Interview with VK of Vassafor!!

This interview is part of a series I'm doing in order to explore the dark and intriguing world of Australian (or in this case, New Zealand) black metal as well as spread the word about The Devil's Arcana, a 2-day black metal festival taking place on March 30-31 here in Sydney, Australia.

https://www.facebook.com/pages/Vassafor/122700671091826

Interview conducted via email on March 26, 2012.

WULF: Something that is consistent with your band imagery is the pentagram-like symbol that appears on your t-shirts and logo. What does it mean? Also, without getting too much into personal beliefs, would you describe Vassafor as a Satanic band, or just heavily influenced/interested in occult themes? As with most bands of the black metal genre, I'm curious as to if there are any specific authors or literature that has inspired your music.

VK: Vassafor is Black Metal and black metal is by definition Satanic….otherwise it isn't BM to me. The symbol is a stylized representation of the demon's face and also of His gateway. It is also the back piece I have had tattooed on me for many years now. My sources of inspiration certainly aren't limited to authors only, but a lot of writing that has influenced me is nonfiction ie ONA texts, scientific books about physics or astronomy, modern primitive-ism style books, historical books as well as vedas, sagas, epics from certain cultures. Of fictional authors I have always loved the language and imagery of Baudelaire and Nikos Kazantzakis among others.

WULF: Who is the operatic female vocalist for the song "Dreadnaught" off of your 2007 self-titled EP? Her voice is gorgeous, as is the piano arrangement. Did you play this piano part yourself? How did you get in contact with the opera singer, and is she a fan of Vassafor's music?

VK: I work as a sound engineer and had a job at Auckland University's music conservatorium where this woman was a 3rd year student. "Thy Hand Belinda/Dido's Lament" has long been one of my favorite pieces of music and when she broke into it as part of a weekly critique session it was amazing. A tutor accompanied her on the piano. I had already been writing Dreadnaught with this as an accompanying piece so I could't help but think that Satan was smiling that day….

WULF: I read in a recent interview you did with Subcide Webzine that the lyrics to the song Vassafor were inspired by a vision you had while under the influence of psychedelics. I know that perhaps they do not serve as the best creative catalyst while in the studio, but do you find that using psychedelics helps prepare you for a live ritual? How do you prepare before a live performance, and is it something that the rest of the group takes part in?

VK: I rarely do those kinds of drugs anymore. No real urge to do it & actually find it is far more difficult to get good results than any other way for me these days. I create music at will, fairly effortlessly now so I have nothing getting in the way of music vomiting out of my subconscious. What helps us as a band prepare for live ritual is creating the same environment every time we play together of dread and darkness to stimulate our atmosphere. Playing without breaks in dim light at absurdly loud volume, often we wear spikes and bones as we rehearse and I do it as I record….its got nothing to do with how it looks but everything to do with how it makes me/us feel while we are playing or recording….

WULF: According to the same interview, you mentioned that your new album will be called "Obsidian Codex". Is this still true? Unfortunately I haven't listened to your 2010 demo, so I'm curious as to how or if Vassafor's musical style has evolved since the lineup has changed dramatically from 2007. Also, would you care to elaborate on this new album's lyrical themes?

VK: Obsidian Codex continues on the same evolution that all the recordings so far have done. More Vassaforian than ever, more variety in the scope of writing but definitely the darkest recording yet from us. The doom is slower and more apocalyptic, the faster blasts are more violent and savage and there is more chaos present than before. I think the most satisfying elements for me are that I have been able to write some songs that are more stylized than I have been able to achieve in the past. For example the final track Makutu is a song with no guitars but 2 basses and has a more Hellenic/Necromantia style feel to it as a tribute to the kind of BM that has influenced me so much, yet it still sounds like a Vassafor song. Same with Nemesis, our most epic song yet recorded, which drips evil venom yet moves at a funereal speed, most of the time anyway. The lyrics are still the same vein as the majority of past songs and releases we've done. But a few vary, for example of the 2 songs already mentioned, Makutu is a transcript from a sorcerer who was put to death in 19th century NZ for the laying a death curse upon people. His spell is the majority of the lyric. Nemesis is also based on an event in our not so distant past where a warrior was part of a raiding party versus a rival tribe/village and came back days later to find his people wiped out. As they had been picked off as well it was soon just him who remained as the last of his clan, so he became the thorn in his enemies side and would go and kill their children, then leave their partially eaten remains to be found. Total psychological terror! So the lyric is more about the mentality of becoming a Nemesis to those in your way among other aspects….

WULF: Before I came to Australia and started investigating the metal scene of Oceania the only extreme metal band I was familiar with from New Zealand was Ulcerate, who of course now are gaining a global following in the underground. Now I am listening to your band and am excited to see what else your country has to offer in terms of quality extreme metal. How has the success of bands such as yours and Ulcerate's influenced the NZ scene, and are there any other NZ bands you would recommend checking out?

VK: Ulcerate are certainly getting much deserved attention. They have just come back from their 2nd successful European tour and are about to hit the States and have never compromised their music to achieve their goals. Great guys with a fitting attitude, they deserve all the success they are on the verge of reaping…
There are now a few bands from our shores that have made an impact in metal scenes consciousness. The usual suspects should be well known to people who follow the underground. So it makes more sense to mention some of the more obscure bands that also deserve outside attention. Sinistrous Diabolus, Skuldom, Anno Domini Mortus, Corpsefeast and Vanargandr are 5 utterly different sounding musical entities, yet all have a layer of obsidian in their sound. Vanargandr is at the absolute peak of their scene worldwide to my ears, they have been contributing to Vassafor's last few recordings as well. And the pieces of theirs that are part of Obsidian Codex are a perfect compliment to our style….

WULF: Judging by the pictures taken at some of your live rituals, I must say that it definitely evokes the same death-worshipping atmosphere that blew me away years ago while watching the original Texas Chainsaw Massacre from the '70s. The barbaric and horrifying nature of the house where everyone gets killed may at first seem more suited towards imagery conceptualized by a gore metal band like Mortician, but I feel like in Vassafor's case it's much more in the tradition of black metal greats like Mayhem, only perhaps with a New Zealand twist. Do you feel like this is correct? New Zealand is considered by many to be the most beautiful place on earth, and it seems like nature has a strong influence on your wild, yet mystical music. What is the ideal way to experience a Vassafor recording?

VK: We do worship death. Its not for some trend, its what we are about. 3 of our members have large collections of bones from animals and humans so between us we have much more material than we could ever fit on a stage. For the way I've always thought of it I don't want meat on our stage…I've always wanted the cold sterility of bone and ancient death. Mummifcation and preserved dead forms. Timeless and lifeless. We also build altars when we have the venues to control elements properly and thats when we will have the mountains of decaying rats, again, not fresh, but decaying and sludgy. Smell of death oozing and creeping off the altar, invading those in the audience and pulling them into our reality. I have no interest in nature, this music is meant to stand outside of time and place. My ideal place to experience Vassafor is within my dreams…

WULF: You will be in here in Sydney in a few days to perform at The Devil's Arcana black metal festival. What can the audience expect from your live ritual? What are you hoping to accomplish? Also, are you behind the creation of your set design? It's pretty incredible!

VK: While we will endeavor to have as much as we can bone wise, it will be the basic appearance for us. Obviously our full skeletal sculptures and wielded iron pieces won't be traveling with us! But a Pulpit of Invokation will be built and the wave of darkness that we endeavor to create any time we start playing our music will be manifest with or with out the additional visual aspect. I wanted to play our first Australian ritual at a place where our peers could be present and many of the people I wish to play for are able to attend. That is enough. While many may be out of state and unable to make this weekends ritual we are looking at several further gigs in the not to distant future in several other cities. However, Vassafor normally only plays once or twice a year. In NZ people know if they really want to see us then they should travel because we follow no one elses schedule. So if people want to see us and don't, there are no guarantees we will ever play in that place again, we usually don't play the same set twice…

WULF: When is your new album due out? What can you tell us about it? Also, what are your plans after The Devil's Arcana? Are you planning on embarking on an Australian tour, or perhaps touring Europe or North/South America?

VK: We are waiting for Obsidian Codex test presses to arrive. It is unfortunate that we won't have our vinyl available for Sydney but the pressing plant has been horrifically slow. It doesn't matter, it will be out sooner rather than later. We play alongside Inquisition at their Auckland date in early June and have plans for another date in NZ as well. Plans are afoot for a string of US shows later in year and it would appear that talks are going on for us and 2 excellent bands to play in Europe next year. Time will tell if that pans out.
Our primary aim for this year is to record the next songs for a raft of split material we will work on for the rest of this year, starting with a split 12" we will release with Sinistrous Diabolus.

WULF: That's all the questions I have! Any final comments?

VK: see you at Devil's Arcana

to the death…..
VK